Issue

Future Markets

Installation view of PATRICIA PEREZ EUSTAQUIO’s The Future That Was (Reflections) (detail),2013, metal, cane (solihiya), paint, mirrors on fabric, dimensions variable,at “The Futur

Being Within the Change

CHEN SHUN-CHU, King-Do Relic, 1996, nine wooden sculptures with image-transferred tiles, each 192 x 32 cm.Black-and-white installation view of “King-Do Relic” at IT Park Gallery, T

ONE ON ONE: Kacey Wong on Chen Shun-Chu

View of Taichung in 2017. Courtesy C Yang.

DISPATCH: Taichung

Illustration by Chia-chi Yu

THE POINT: A Friend

Portrait of PRUMSODUN OK, 2018. Photo by Nobuyuki Arai. Courtesy the artist.

Healing Through Movement

Portrait of Hsu Chia-Wei. Courtesy Liang Gallery, Taipei.

Hsu Chia-Wei

Portrait of Michael Buxton. Photo by James Geer.

Michael Buxton

Portrait of Jaishri Abichandani. Photo by Ysabelle Cheung for ArtAsiaPacific.

Jaishri Abichandani

Installation view of MITOCHONDRIA: POWERHOUSES, 2017, mixed-media installation with Tesla coil machine, dimensions variable,at “Mitochondria: Powerhouses,” Galleria Continua, San G

Ahmed Mater: The Edge Becomes The Center

UNTITLED (STILL LIFE 4), 2017, fiberglass resin, sugar paste, graphite, acrylic paint, brass strip, 43 x 38 cm. All images courtesy the artist and Silverlens, Makati.

Patricia Perez Eustaquio: A World of Her Making

Installation view of SYLVIE FLEURY’s Eternity Now, 2015, neon, 10.2 x 83.8 cm, at the Bass Museum of Art, Miami, 2015–18. Courtesy Bass Museum of Art.

INSIDE BURGER COLLECTION: Aesthetic Experience, Ownership, and Post-truth

HAEGUE YANG, Series of Vulnerable Arrangements- Version Utrecht, 2006, various sensory devices, aluminum venetian blinds, cable, dimensions variable. Installation view of “Haegue Y

Cologne: Haegue Yang

PATRICIA PICCININI, FRONT: The Bond, 2016, Silicone, fiberglass, human hair and clothing, 162 x 56 x 50 cm.BACK: The Field, 2018, Ceramic installation, dimensions variable.Install

Brisbane: Patricia Piccinini